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In the Galleries: Producer David O. Selznick defends casting Vivien Leigh as Scarlett O’Hara

By Gabrielle Inhofe

British actress Vivien Leigh is best remembered for her part as Scarlett O’Hara, the beautiful Southern belle who will stop at nothing to get what she wants. Her inspired performance won an Academy Award for Best Actress. However, when word got out that she was being considered for the role, letters against the selection poured into Gone With The Wind producer David O. Selznick’s office.

 

The president of a chapter of the United Daughters of the Confederacy wrote a letter stating that she and the members “vigorously protest against any other than a native born southern woman playing the part of Scarlett O’Hara in Gone With The Wind. Furthermore, we resolve to withhold our patronage if otherwise cast.” The Hollywood Reporter’s Joe Shay wrote to Selznick calling it “an unfortunate selection” should someone other than a Southerner be cast.

 

Selznick wrote a letter to Ed Sullivan, an entertainment columnist at the time, defending Leigh. He notes that Leigh’s parents are French and Irish, just like Scarlett’s, and he draws comparisons between England and the South. Selznick writes, “A large part of the South prides itself on its English ancestry, and an English girl might presumably, therefore, be as acceptable in the role as a Northern girl.” Furthermore, he notes the relationship between the Southern and British accents is much closer than that of the Southern and Northern accents. He also points out that the English have warmly received the portrayals of Englishmen by Americans, so Americans would be ungrateful to do the same. Finally, Selznick points toward successful cross-cultural performances in American theater, like the British actor Raymond Massey as Abraham Lincoln and the American actress Helen Hayes as Queen Victoria.

 

When Leigh’s selection as Scarlett was made official, the reaction in the South was overwhelmingly negative. Susan Myrick, who advised the filmmakers on historical detail, helped to convince Mrs. W. D. Lamar, President of the United Daughters of the Confederacy on the soundness of the choice. According to Myrick, Lamar “greatly preferred an Englishwoman for the part of Scarlett O’Hara, rather than a woman from the East or Middle West, as she had always felt there was a close kinship between the Southerner and the English people.”

 

The memo is on view through January 4 in the Ransom Center’s current exhibition The Making of Gone With The Wind. A fully illustrated exhibition catalog of the same title will be co-published by the Harry Ransom Center and University of Texas Press in September with a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne.

 

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Image: Ed Sullivan, then a gossip columnist, had learned that Vivien Leigh was Selznick’s choice for the role of Scarlett.  Selznick denied it but, anticipating resistance to his decision, had already developed a five-point justification, which he began to circulate to entertainment reporters.

#Franklymydear, we want your best line

By Alicia Dietrich

“Frankly, my dear, I don’t give a damn.”

 

The iconic last words of Rhett Butler in Gone With The Wind almost weren’t, because use of the word “damn” in films was expressly prohibited in the Production Code. Anticipating objections by the Hays Office (the entity that governed moral code in film), producer David O. Selznick asked his story editor, Val Lewton, to compile a list of uses of the word “damn” in print media and, if possible, cinema.

 

A list of alternate lines was also compiled, including such gems as:

 

“Frankly, my dear, nothing could interest me less.”

 

“Frankly, my dear, I don’t give a hoot!”

 

“Frankly, my dear, my indifference is boundless.”

 

“Frankly, my dear, the whole thing is a stench in my nostrils.”

 

Selznick knew that the Code would have to be changed for him to be able to keep Rhett Butler’s final line, a change that could only be approved by the board of directors. Leading up to a decisive October 27, 1939, meeting, Selznick and business partner Jock Whitney lobbied board members to change the Code. Although deliberations were described as “very stormy,” Selznick prevailed, and the Production Code was amended to make future use of the word “damn” discretionary.

 

Although Selznick promised to “put up a strong fight for the line,” he took Lewton’s precautionary advice to film the scene twice, once as written, and a second time substituting “Frankly, my dear, I don’t care.”

 

What would you have suggested as an alternate line? Give us your best family- and censor-friendly versions of the line in the comments below or via Facebook, Twitter, Instagram, or Tumblr using the hashtag #franklymydear.

 

Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.

 

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Read Turner Classic Movie Host Robert Osborne’s introduction to the book “The Making of Gone With The Wind”

By Alicia Dietrich

A fully illustrated catalog by Ransom Center Curator of Film Steve Wilson has been co-published by the Ransom Center and University of Texas Press to complement the exhibition The Making of Gone With The Wind.

 

Featuring more than 600 images from the Ransom Center’s archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, The Making of Gone With The Wind offers fans and film historians alike a must-have behind-the-camera view of the production of this classic film.

 

Read the foreword of the book by Robert Osborne, film historian and host of Turner Classic Movies (TCM), where he notes that Gone With The Wind was the first film aired when TCM launched in 1994.

 

Join the conversation about the exhibition online with the hashtag #makinggwtw. Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.

 

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Database of fan mail documents emotional response from “Gone With The Wind” fans, detractors

By Alicia Dietrich

As part of the recently launched web exhibition Producing Gone With The Wind, the Ransom Center has launched a new database of fan mail from the David O. Selznick collection.   Researchers now have the opportunity to explore a selection of letters sent to Selznick International Pictures in the 1930s through this database of fan mail correspondence, preview questionnaires, and protest letters. Letters in the database demonstrate the public’s engagement with the film production of Margaret Mitchell’s novel, Gone With The Wind. Emotions ranging from enthusiasm and sorrow to optimism and disdain surface from individuals who wrote in to solicit auditions, submit opinions, and, in some instances, protest the film’s production.   Visitors to the site can browse the database by type of mail and search by name of correspondent to see if relatives’ letters are within the database.   Join the conversation about the exhibition online with the hashtag #makinggwtw. Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.   Please click on the thumbnails below to view larger images.

Web exhibition “Producing Gone With The Wind” launches today

By Alicia Dietrich

The Harry Ransom Center launches Producing Gone With The Wind, an updated web exhibition, in conjunction with the exhibition The Making of Gone With The Wind.

 

The web exhibition explores the purchase of the rights to Margaret Mitchell’s novel Gone With The Wind; the casting of the star actress, Vivien Leigh, as Scarlett O’Hara; and the research-intensive aesthetic work in the film related to costumes, hair, and makeup.

 

The exhibition also gives online visitors and researchers an opportunity to search through a selection of more than 3,000 letters from the David O. Selznick collection, by individuals who sought auditions, solicited employment, and protested the production.

 

Stay up to date with the Harry Ransom Center’s latest news and information with eNews, the Center’s monthly email newsletter. Subscribe today.

 

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Image: Concept painting of Scarlett O’Hara at Tara in Gone With The Wind.

Ransom Center exhibits “Gone With The Wind” materials at TCM Classic Film Festival

By Jennifer Tisdale

Turner Classic Movies (TCM), premier sponsor for the Harry Ransom Center’s upcoming exhibition The Making of Gone With The Wind, hosts its fifth annual TCM Classic Film Festival in Hollywood April 10–13.

 

Within Club TCM, the gathering point for festival passholders in the Hollywood Roosevelt Hotel, the Ransom Center will exhibit a selection of Gone With The Wind storyboards and concept art from the Center’s David O. Selznick archive.

 

Also at the festival, TCM will commemorate the 75th anniversary of Gone With The Wind (1939) with a screening of a recent restoration of the film in collaboration with Warner Bros. Studios.

 

Beginning September 9 at the Ransom Center, more than 300 original items from Gone With The Wind will be on display in the exhibition The Making of Gone With The Wind, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, fan mail, and costumes worn by Vivien Leigh. Drawing from its extensive archive of the film’s producer, David O. Selznick, the Ransom Center is in a unique position to tell, and share, the story of the making of this epic film.

 

Image: Dorothea Holt’s concept painting of Scarlett at the Butler House in Gone With The Wind.

75 Days. 75 Years: Actresses who had screen tests for role of Scarlett O’Hara

By Jennifer Tisdale

For 75 days, the Harry Ransom Center is raising funds for its 2014 exhibition The Making of Gone With The Wind. Opening on September 9, 2014, The Making of Gone With The Wind will reveal stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Items from film producer David O. Selznick’s archive provide a behind-the-scenes look into the making of the film.  Donations will help support outreach, additional exhibition tours, a published exhibition catalog, and complimentary programming and presentations.

 

David O. Selznick, the film producer of Gone With The Wind (1939), mounted a nationwide search for a woman to play the role of Scarlett O’Hara. Scores of women read for the part, but only the women listed here, some talented amateurs and some experienced actors, actually sat for filmed screen tests.

 

 Selznick found Lana Turner “completely inadequate, too young to have a grasp of the part.” Until Vivien Leigh’s arrival, Paulette Goddard was Selznick’s first choice. Goddard made more screentests for the role than any other established actress and eventually signed an option agreement with Selznick in anticipation of getting the part.

 

The four finalists for the role of Scarlett were Goddard, Jean Arthur, Joan Bennett, and Leigh.

 

The exhibition will highlight over 300 original items from Selznick’s archive housed at the Ransom Center, including photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Leigh as the beautiful and ambitious Scarlett O’Hara. The newly conserved costumes will be displayed together for the first time in more than 25 years.

 

Please click on thumbnails to view larger images.

 

 

Image: Memo to David O. Selznick regarding “Girls tested for the role of Scarlett,” ca. 1938.